Power play: Amelia Forsbrook reviews Ian Rickson’s production of Pinter.
A talent for unearthing character interiority: Brendan Macdonald reviews Caroline Byrne’s take on Bertram and Helena’s sort-of love story.
Nostalgic cliché: William Drew reviews Petit théâtre de gestes as part of the London International Mime Festival 2018.
A hyperactive primary-coloured tale: Amelia Forsbrook reviews Cirque du Soleil’s new show.
Lots of knots: Rosemary Waugh reviews the arrival of Andrea Dunbar’s play at the Royal Court.
A cult hit: Anoushka Warden’s debut monologue is bold, brash and baggy.
“A Victor Hugo musical? It’ll never work.” Brendan Macdonald reviews the London transfer of The Grinning Man.
Who tells your story: the smash-hit revisionist historical musical comes to London.
Winter wonderland: the egg and Travelling Light Theatre Company create a sensory world of snow.
The bizarreness takes over from the brutality: Blanche McIntyre’s production can’t balance the horror and the humour of Shakespeare’s bloodbath.
Privileged, bored and probably lazy: Sally Hales reviews the UK premiere of Amy Herzog’s relationship psychodrama.
It’s mad. It’s ambitious. It’s silly and frightening and really annoying: Miriam Gillinson reviews the National Theatre’s stage version of Pinocchio.
Bizarre, challenging and strangely compelling: Sally Hales reviews the Royal Court’s alternative take on Christmas theatre.
Disarmingly virtuosic: Seiriol Davies’ Edinburgh musical sensation transfers to London.
“Like those Christmas selections that come in an actual tin with some of the biscuits so posh they warrant their own silver foil.”